FACING OUR TRUTH

THE NATIONAL BLACK THEATRE IN CONJUNCTION WITH NEW BLACK FEST PRESENTS; EBONY GOLDEN AND AXEL AVIN, JR.'S FACING OUR TRUTH: (six 10 minute plays on Trayvon, race and priviledge).

An Anthology of "related and scripted" 10 minute stage plays revolving on the sociopolitical atmosphere surrounding the criminal case of Trayvon Martin and officer George Zimmerman; and the cultural and ethnic upheaval it has caused the justice system across the country, concerning race relations against our youth, minorities, and young Black Men in particular, opened in New York City on February 5th through the 10th, 2014 at the National Black Theatre In HARLEM.

Six playwrights have received both public and private grants from sponsorship such as the NY Council on the Arts, Council Member Inez Dickens, 9th CD, speaker Christine Quinn, and the New York City Council, City of New York Department of Cultural Affairs, Columbia University, Starbucks Coffee, Home Decour, and a plethora of other powerful sponsorship and financial supporters, to commission interpretive stories addressing race relations of our YOUTH.

It is a benefit for YOUTH AT RISK (a nonprofit organization which addresses immediate needs and long term effects of AT RISK BEHAVIORS which can put the youths into DETRIMENT)

This is the first commission of its kind (since the 80's) to receive such powerful endowments to address a serious social problem, or at least begin a dialogue on how to resolve the issue of RACE. In the city as diversified and as complex as New York City (and similar cities across the United States)

Each playwright presents different "prism" of the same "issue" which leads to the "same result": VIOLENCE and POLITICAL UNREST.

The first play, "some other kid", was written by Ray Pamatma; concerning three youths which during the course of the day, has one of their fellow peers shot to death, as they find him on the street. The premise is simple enough, kids doing kids stuff, not bothering anyone and just going about their daily activities as defined by the culture of YOUTH. But in the raw innocence, a life is taken...

The second play "Night Vision"; written by Dominique Morisseau was also reminiscent of the same even but in a different perspective that reflects the "universal" (every one is confronted, at some point or another, to the dark confessions of the soul), Danger always looms where there is least expectancy of danger. Misunderstanding is one such form of danger (especially borne out of stereotypical "pictoring" of people-and what's "projected" onto minority groups; even within such groups!)

The third play, "Colored", written by Winter Miller, addresses stereotypical behavior in the subway system, with young Black Men doing "tricks for a buck", with music and dancing (and the inherent  prejudice which comes with such activity). The preconceived notion that all youth are dangerous and obnoxious (or at least rude) lends credence to the notion that youths are a "mixed bag", unpredictable, and prone to disrespectful  behavior (perhaps precipitating further stereotypes of their "futures": either dead or in jail)

The fourth play, "Ballad of zimmerman", written by Dan M. Obrien depicts the psychological "dance" of both Trayvon (as an antagonist-but probably in George Zimmerman's "mind"), and that of George Zimmerman (deciding, after going and chasing him down, if he should "pull the trigger", in order to justify his fears which he clearly has "projected" onto the youth. And the consciousness afterwards, in which he must deal with).

The fifth play, "Dressing", written by Mona Mansour and Tala Manassah, deals with being in "one's shoes" and experiencing the opposite polarity of racism to someone who has not had the experience. Fear of "The Big Black Man", still continues to be a deeply rooted "sexual fear" and "fascination" with White Women (and not just in the United States, but in Europe, as quiet as its kept). It is not "talked about", instead, the fear is "re-routed" or "cloaked" as a veil of violence rather than sexual dominance (maybe in fear that they might "enjoy" the experience which any woman, regardless of color just might find herself experiencing).

The sixth and final play, "No more Monsters", written by Marcus Gardley, was bittersweet, but also drove the point home. Nice...

What I loved the most about both directors is the "hoodie" which was used as an underlying fabric, a symbol, if you will, of REBELLION (in the vintage point of society), and on the other side of the spectrum (from the Youth's side), a symbol of INDIVIDUALITY, IDENTITY, BUT ALSO GROUP CONSCIOUSNESS.

AWESOME!!!

The direction was very originally "unique" and is a "beacon" of what theatre will look like in the coming years. These new directors now are young, creative, imaginative, and, despite the economy, don't allow lack of funding to limit them, but raise the bar to another level. Once can tell that each segment or "stage skit" was well directed, well coordinated, and brilliantly executed.

The staging was nontraditional proscenium, but circular; allowing full view of the actors at all time, and allowing the voice projection to be evenly distributed within the theatre salon. The actors did not need microphones, for their voice projections were excellent (better than some adult traditional actors). The background, devoid of stage scenery, was a black cloth, circumfrencing the perimeter of the stage, along with a black curtain "backdrop". Very costs effective, and very functional in allowing the audience's imagination to "fill in" the rest of the images. Excellent on the part of both directors!

On the walls of the theatre salon, far stage right, far stage left, and the wall above the center stage were screens which showed images and pictures of similar themes throughout the production-allowing another dimension of interpretation which told stories unto themselves. In an hour and fifteen minutes, the information which "out flowed" on that stage was enough to substantiate three hours of standard stage performance (and interestingly fun!)

Special thanks must be rendered to Alan C. Edwards for excellent lighting design, as well as DJ Val Jeanty for sound effects, music and composition. It really set the "tone" for the entire performance.

Honorable mention goes to actors Renee Rises and Reynaldo Piniella for excellent performances. They should definitely be nominated for AUDELCO AWARDS.

This production was superb. I have no negaitve criticism, and for me, that's a first!

GOOD JOB, YOU RECEIVE 5 STARS!!!!